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Thursday, May 02, 2013
PSW Staff 05/02/13 08:24 AM,Finnish string quartet Meta4 has invested in four DPA Microphones d:vote 4099 Instrument Microphones, which they are using to capture the sound of two violins, a viola and a cello. To date, Meta4 have used their new DPA d:vote 4099 Instrument Microphones in a concert hall environment, performing Kaija Saariaho´s Nymphea for string quartet and live electronics and Black Angels by George Crumb. “These are, without a doubt, the best microphones we have ever tried,” says Meta4 viola player Atte… View this story
Filed in: Live Sound • News • Concert • Microphone • Sound Reinforcement • Stage -
Thursday, April 25, 2013
PSW Staff 04/25/13 11:05 AM,One of the few professional jazz vibes players still swinging, protégé of the late Lionel Hampton, Jason “Malletman” Taylor continues on his mission to keep real music alive with his vibraphones on tour, in the recording studio and for clinics across the US. With Harman’s AKG C516 ML instrument microphones mounted onto his vibes, Malletman entertains crowds with energetic, explosive jazz performances. The 5-time GRAMMY-ballot nominated musician, who is recognized for his unique presentation of jazz, R&B and swing has… View this story
Filed in: Live Sound • News • Concert • Microphone • Sound Reinforcement • Stage -
Monday, March 11, 2013
Bobby Owsinski 03/11/13 12:33 PM,This article is provided by Bobby Owsinski. Here’s an excerpt from The Ultimate Guitar Tone Handbook, available here. Just like most things in life, something that seems so simple on the outside is very intricate on the inside and a pickup is no exception. Here are the numerous factors that contribute to a pickup’s sound. • The number of turns or winding. This is the number of turns of wire around the bobbin of the pickup. The more turns,… View this story
Filed in: Recording • Feature • Blog • Digital Audio Workstations • Processor • Signal • Studio -
Friday, December 07, 2012
Dave Rat 12/07/12 09:18 AM,It’s pretty common knowledge that if you get the wires mixed up when hooking up two loudspeakers that something “not good” happens. Loudspeaker phase (actually, polarity) seems at first glance a pretty simple concept. If both loudspeakers are moving outward at the same time the sound adds together, and if one is moving out while the other moves in, the sound cancels out, especially the low frequencies. Hearing this effect is quite easily demonstrated - listen to your home stereo… View this story
Filed in: Live Sound • Feature • Blog • Study Hall • Consoles • Loudspeaker • Microphone • Mixer • Monitoring • Signal • Sound Reinforcement • Stage -
Monday, December 03, 2012
Bruce Bartlett 12/03/12 07:21 AM,Microphone choice and technique have a powerful affect on the amplified sound of a reinforcement system. The sound picked up might be “natural,” “boomy,” “thin,” “colored” and any other number of descriptive terms that are applied to a sonic signature. It’s usually most desirable to attain “natural” sound. But what does that mean? I define it as the tonal balance heard with our ears in front of a musical instrument, a few feet away. Some synonyms might be “accurate,” “realistic,”… View this story
Filed in: Live Sound • Feature • Blog • Study Hall • Production • Audio • Measurement • Microphone • Processor -
Tuesday, November 06, 2012
Jon Tidey 11/06/12 12:38 PM,This article is provided by Audio Geek Zine. Acoustic guitars are one of the most dynamic and expressive instruments used in modern music. They have a broad frequency range covering almost the entire audible spectrum. The instrument can serve many different roles in an arrangement as a harmonic, melodic, or percussive element. All of these factors will affect how you approach both the recording and mixing acoustic guitars. Context The first thing to do is think about its role… View this story
Filed in: Recording • Feature • Blog • Study Hall • Consoles • Digital Audio Workstations • Microphone • Mixer • Signal • Studio -
Wednesday, September 26, 2012
PSW Staff 09/26/12 01:47 PM,Building on the popularity of Nady’s MGT-16 UHF wireless system (introduced in 2010), several new models have been added to expand the system’s numerous applications and instrumentation. In addition to the MGT-16 plug-in system for guitar and bass, the new Micro Wireless (MW) Series now includes the MHT-16 (for brass and woodwinds), the WHM-16 headset system, and the Link-16 for microphones. All models are available with either the compact, portable “pedal style” MGT-16 receiver (powered by DC adapter or AA… View this story
Filed in: Live Sound • News • Poll • Concert • Microphone • Sound Reinforcement • Wireless • Audio -
Thursday, March 15, 2012
Jeremy Carter 03/15/12 04:11 PM,This article is provided by Jeremy Carter. There are several different types of pickups and microphones to choose from. Here is a basic overview. Soundhole Magnetic Pickup Pros: It’s easy, inexpensive, and can give decent results very quickly. Cons: Because it is a magnetic pickup (like an electric guitar pickup), its sound is a little more dark and electronic sounding. Also, you have to deal with the annoying cable coming out of your soundhole. Connection to PA: Direct box,… View this story
Filed in: Church Sound • Feature • Product • Microphone • Monitoring • Sound Reinforcement • Stage -
Tuesday, January 31, 2012
Bobby Owsinski 01/31/12 10:44 AM,This article is provided by Bobby Owsinski. During a long discussion about vintage instruments in the studio this week, it prompted me to think about this excerpt from The Ultimate Guitar Tone Handbook (written with writer, composer and good buddy Rich Tozzoli) that describes some of the intangible factors that went into manufacturing Gibson humbucking pickups in the 50’s and 60’s. As you’ll see, there are a lot of external factors that went into making a pickup back then,… View this story
Filed in: Recording • Feature • Poll • Product • Signal • Studio -
Wednesday, July 06, 2011
Jon Tidey 07/06/11 02:58 PM,This article is provided by Audio Geek Zine. What is drum damping? Damping (or dampening if that’s how you roll) is controlling the decay and overtones of a drum. Damping the drum is NOT a way to deal with a poorly tuned drum. Knowing how to effectively control the sound of the drums through damping is essential for every drummer, producer and recording engineer. In this article I’ll cover some inexpensive products, some do-it-yourself options and then some kick… View this story
Filed in: Recording • Feature • Poll • Digital Audio Workstations • Processor • Studio
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